There are numerous venues in which various types of audio are generated for sundry purposes, in example, make-shift or rigorously constructed, recording studios, auditoria, meeting rooms, conference rooms, fellowship halls, churches, sound isolation chambers, sound proof booths, and the like. Further, said venues are often modified, according to well known principles and devices, to have particular acoustic properties according to the type and purpose of the audio produced.
In example, a chamber in which there are minimal reverberations or echoes off of interior surfaces is often desirable. Such a “dead” chamber is created by contriving the inner surfaces thereof to absorb or cancel sound waves thusly reducing or essentially eliminating reverberation. Such absorption or cancellation may be intrinsic to physical characteristics of said surfaces themselves or may be accomplished by electronic means.
If, however, the venue is contrived for public performance hearing of oratory or hearing of music in the presence of a live audience, then a “diffuse” chamber, that is, a room having created reverberation time reduced to the point that echoes are not apparent, may be created by strategic placement of sound panels about the chamber. Such panels may be inert, or may be active electronic. If inert, they are generally contrived to have dimensions and form that cause sound to reflect in sundry angles about the surrounding space. To achieve various ideals of tonal quality, they may be judiciously combined with sound absorbative devices.
It will therefore be readily appreciated by one skilled in the art that devices which absorb sound tend to be intrinsically different from devices which diffuse sound so that one cannot be used for the other purpose.
There are also numerous sound production venues which at various instances might require a “dead,” or sound absorbative, room while at other times might require a “diffuse” room. Thus, if such acoustic variation is to occur, then constant removal of diffusing elements and replacement therewith by absorptive elements or vice versa must be undertaken. Such alterations are time consuming, cumbersome, and expensive. Plus, such adjustments are frequently impossible because acoustic properties of most venues are permanently fixed.
The instant art comprises a device which can simply, quickly, easily, and inexpensively be adjusted to exhibit qualities and characteristics ranging absorptive to diffusive. The instant art also provides embodiments which can simultaneously absorb some sound frequencies and diffuse other sound frequencies. Further, the mix of these qualities may vary according to the angle of incidence of arriving sound waves. The instant device further produces the counter intuitive result of enhanced sound absorption capability compared to that of a sound absorption element standing alone.
The instant art can therefore be temporarily or permanently installed in a sound production venue and converted from one set of acoustic characteristics to another and is therefore a needed advancement of the art.